Only recently did I become aware of Auf ungeheuer dünnem Eis, an anthology of interviews with W.G. Sebald, edited by Torsten Hoffmann. Who knows why it isn’t translated? Beyond offering insight into Sebald’s early concerns, his sometimes surprising sources, and his manner of composition, it gives much to consider for writers inclined to reckoning with disaster and tragedy, but hopeful of sidestepping the sanctimonious kitsch and self-regard that often thwart the longing for gravitas.
Most interesting for me were the frequent references to natural history: concerning Karl Kraus, Sebald speaks of the “corruption of society as an almost natural-historical phenomenon”; the same goes for the degradation of syntax and grammar between the seventeenth and early twentieth centuries, and particularly of the conception of mankind:
What a Roussea produced in a single day in correspondence alone, composed in consummate French! For us today, such a thing is almost impossible, and I have the feeling that our weakening grasp of language across the course of time is a generalized, almost natural-historical phenomenon.
Mankind does not consist, as we still hoped in our liberal daydreams in the 19th century, of emancipated, autonomous individuals. It constitutes an at times heterogeneous, but in principal homogeneous mass. This mass has a molecular structure – that is, individuals – which may transition into another aggregate state. The more one heats a mass, the faster the molecules move, and all at once, the point is reached at which the fluid of mankind takes on a gaseous form.
… the individual, the lone autonomous essence, the superordinate, that is a mere dream we have elaborated in our bourgeois epoch. In fact, man is a collective phenomenon…
Regarding his method, Sebald speaks frequently of bricolage and of the need to foment coincidence, by travel and by an intimate engagement with primary source materials (an aspect of Sebald’s work seemingly lost on his legions of imitators):
This is a form of aboriginal labor, of pre-rational thinking, in which one rustles about in casually accumulated debris until a pattern somehow emerges.
On the importance of the material in his work: Things have a mute history… in objects, something like a mute, wordless history is condensed.
On Kafka: he experienced his own life as illegitimate.
He dwells as well on the diminished meaning of place-names in a time of unrelenting progress, of the relation between architectural monumentalism and paranoia, the evocativeness of black-and-white photography, the distinction between melancholy and depression, but I ought not quote too much here. The most painful and also most poignant impression the book leaves me with is Sebald’s sense of the transitory nature of the human perspective, which emerges as the outgrowth of overdetermining organic processes and will vanish, despite the delusion of individual sovereignty, at those same processes’ behest, leading one to wonder to what extent the longing for suicide inspired by the unfathomable magnitude of life on earth is actually a form of nostalgia…
NB: The translations here are approximate and should not be quoted.